Work : Devin Troy Strother lamar getting out of tyrones pool, (nigga get me a towel) acrylic, cut paper, oil pastel, 16"x14" inches Ohhh, that's just my gurrrl Sha'luanda acrylic and auto-body paint on aluminum 26 x 92 x 11 inches The Coloureds Series Part 4: "Gurrrl I'm just talking about that composition, Gurrrrl what'chu know about that post abstraction?" Amazing Fire Photography by Tom Lacoste (with Interview) Welcome to another cool and “dangerous” showcase! Our special guest today is Tom Lacoste, a very young French artist. He is not the kind of artist we are used to: first of all, he’s a juggler and then a photographer! That is pretty darn amazing and we are honored to ask Tom a few questions about the different aspects of his life. With a very mature thinking, Tom explained what photography means to him, “why fire” and gave some piece of advice for the newbies interested in this subject. Hold on for a “hot” photographic ride!
MAX PINCKERS photography Raul Ruiz, Poetics of Cinema, Éditions Dis Voir, Paris, 2005, p. 34. Cops, two ‘terrorists’ in 20-minute car chase The Times of India, Monday, July 11, 2011. Cop on security duty shoots at self for medal The Times of India, Tuesday, March 22, 2011. 1982 Coolie accident Hindustan Times, Friday, February 17, 2012. ‘Hello, the Goya is still on our wall, thank you. (click)’ The Times of India, Wednesday, February 15, 2012. SHIZUKA YOKOMIZO, DEAR STRANGER… Posted on November 16, 2012 by Isabella Cecconi Dear Stranger, I am an artist working on a photographic project which involves people I do not know…I would like to take a photograph of you standing in your front room from the street in the evening. A camera will be set outside the window on the street.
Nobuhiro Nakanishi｜中西信洋 The Stripe Drawings are composed of an infinite number of lines drawn in pencil. Drawing these lines at set intervals creates gaps in between, deliberately leaving empty spaces. These lines and spaces create shapes that seem to encroach upon each other, yet co-exist harmoniously. My goal is to depict landscapes where contours, spatial distances and physical boundaries dissolve, like the infinitesimal world we see through the microscope, an imaginary galaxy in a faraway universe, or a landscape steeped in fog. The shapes of the objects I draw are ambiguous and impossible to touch. Martin Munkácsi: father of fashion photography Spontaneous images are now the staple of fashion magazines - thanks to the little known Hungarian émigré Martin Munkácsi, whose work is revealed in a new exhibition BY Lucy Davies | 03 July 2011 Nude in Straw Hat, 1944 Hungarian Museum of Photography Photo: ESTATE OF MARTIN MUNKACSI, COURTESY HOWARD GREENBERG GALLERY, NYC Harper's Bazaar Fashion Plate, c. 1940 Hungarian Museum of Photography, Kecskemét Photo: ESTATE OF MARTIN MUNKACSI, COURTESY HOWARD GREENBERG GALLERY, NYC Beach!
LOTTE REIMANN* texts Fast cars, sex and violence, or how I’ve been inspired by "Crash" I guess in my personal lexicon of meaning the car is least of all a means of transportation. I have always been much more attracted by the strength that a car embodies, its speed and danger, the power of these machines. Untitled Document THE BIGGER PICTURE Nick Ut recalls the Events of June 8, 1972 by Horst Fass and Marianne Fulton By 1972 most U.S. helicopter units had left Vietnam. It had become more difficult for reporters to reach the isolated areas where South Vietnamese troops, often surrounded by communist guerrillas and regular north Vietnamese soldiers, were fighting. It was a time when AP photographers had to travel the dangerous roads leading out of Saigon, Danang or Pleiku towards areas where fighting took place. At dawn of June 8, 1972, about 5 AM, photographer Nick Ut loaded his camera gear, field survival kit, flak-jacket and steel-helmet into one of the AP's Japanese made minibuses (the AP correspondents called them 'command modules') parked outside the Eden Building, where the AP's Saigon office was.